The Creative Integration of Printing Techniques and ...

Dina Nafady 317

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The Creative Integration of Printing Techniques and Aesthetic Values of

Contemporary Saudi Plastic Art in Printed Fashion Designs

Dina Ahmed Nafady Assistant Professor, High Institute of Applied Arts 6 th October City, Arab Republic of Egypt,

[email protected]

Keywords: Abstract: Integration, Creative

design, Textile Printing,

Saudi plastic art, Fashion.

Integration is a system emphasizes the study of topics related to each other to

highlight their relationships that increase clarity and understanding, beside

creativity presents what is new and renew what is old, due to the importance of

creative integration the research idea presents the use of different effects of various

printing techniques which are the way for continuous experimentation through

materials, tools and harmonious methods to create new artistic formulations of

fashion designs inspired by the aesthetics of contemporary Saudi plastic art which

characterized by a degree of intellectual fluency, automatic flexibility and

originality.From here, the research problem is to get benefits from the creative

integration between various printing techniques and aesthetics of contemporary

Saudi plastic art to create printed fashion designs that can enrich textile printing

field, it aims to study various printing techniques and aesthetics of the Saudi plastic

art through some contemporary Saudi artists’ works, as their art possesses artistic

richness as a source for creating printed fashion designs. The research assumes that

it is possible to take advantage of the creative integration between various printing

techniques and the aesthetics of contemporary Saudi plastic art to create printed

fashion designs using new aesthetic and plastic values that can be added. The

research has temporal boundaries: through designing printed fashion designs in our

contemporary time that are inspired from contemporary Saudi plastic artists’ work,

thematic boundaries: it focused on the creative integration between various printing

techniques and the aesthetics of contemporary Saudi plastic art to create printed

fashion designs, and spatial boundaries: through contemporary Saudi plastic art in

Saudi Arabia and fashion designs nowadays. The research contains technical

analysis for each design accompanied by an employment proposal for printed

fashion designs. A questionnaire follows, to ensure that the goals of the research are

met. The research results that it is possible to combine the features and

characteristics of traditional techniques and digital systems in print works with

artistic values through creative integration with both of them from Saudi plastic art

which is rich with different aesthetic and artistic values that can be added to printed

fashion design fields using various printing technique, using technical and

technological development to ease dealing and experimentation to create artistic

works characterized by creativity and innovation to achieve artistic and plastic

values in the textile printing field.

Paper received 18th May 2021, Accepted 11th August 2021, Published 1st of September 2021

Introduction: Textile printing is one of the most important

applied and technical field that is full of various

technologies through which it is possible to

provide utilitarian products with a distinct

aesthetic value that greatly contribute to the

development of creative thought. This is achieved

due to its wide potential, and continuous

experimentation with different materials, tools,

and methods in addition to the diversity of printing

surfaces. The combination between different

techniques leads to obtaining different visual color

effects which yields formative values, and

different color relationships that enrich the design

field as a factor for the integration of artistic

creativity. This research is concerned with making

use of creative integration between various

printing techniques and aesthetics of contemporary

Saudi plastic art to create printed fashion designs.

The designs combine traditional and modern

techniques in the field of textile printing and

contribute to the artistic and creative enrichment in

a unique innovative manner through

experimentation. In order to enrich creative fields,

designs are applied in Print Making Studio Course

- GDE 314 (at the third level) at Faculty of

Architectural Engineering and Digital Design at

http://creativecommons.org/licenses/by/4.0/


mailto:[email protected]

318 The Creative Integration of Printing Techniques and Aesthetic Values of Contemporary Saudi Plastic

Art in Printed Fashion Designs

International Design Journal, Volume 11, Issue 5 September 2021

Dar Al Uloom University, Riyadh, Kingdom of

Saudi Arabia. Designs are applied by using

manual printing methods such as stenciling, tie

and dye, marbling, and digital printing, under the

supervision and guidance of the researcher as she

is the instructor in this course to direct students to

create various designs inspired by the works of

contemporary Saudi plastic artists. An exhibition

of students’ works was held at college’s exhibition

hall. Then, the researcher used those designs and

employed them to create printed fashion designs

through suggested employment models with

technical analysis for each design idea and then

the researcher worked on statistical framework for

this study.

Problem Statement: Is how to take advantage of creative integration

between various printing techniques and the

aesthetics of contemporary Saudi plastic art to

create printed fashion designs?

Objectives: 1- Taking advantage of the creative integration



create printed fashion designs.

2- Enriching the field of fashion printing design by

making use of computer technology to create

innovative formulas through creating designs

with artistic and aesthetic values that are

inspired from contemporary Saudi plastic art.

Research hypotheses: 1- The research assumes that it is possible to take

advantage of the creative integration between

various printing techniques and the aesthetics

of contemporary Saudi plastic art to create

printed fashion designs.

2- New aesthetic and plastic values can be added

to the field of printed fashion design using

various printing techniques.

Significances: 1- The creative integration between traditional

methods and digital systems in printing work

provides innovative formulas that enrich the

textile printing field.

2- The research offers experimental approaches

that formulate innovative designs based on

creative integration of variables of various

printing techniques and the aesthetics of

contemporary Saudi plastic art to create printed

fashion designs.

3- The research contributes to raise the efficiency

of artistic performance by linking the field of

textile printing with contemporary technical

artistic trends.

Delimitations: The proposed study has temporal boundaries:

through designing printed fashion designs in our

contemporary time that are inspired from

contemporary Saudi plastic artists’ work, thematic

boundaries: it focused on the creative integration



create printed fashion designs, and spatial

boundaries: through contemporary Saudi plastic

art in Saudi Arabia and fashion designs nowadays.

Methodology: The research follows the descriptive, experimental

and statistical approach through: The analytical

descriptive approach: by introducing various

printing techniques and analyzing the plastic

foundations of innovative designs. The

experimental approach: by addressing the

innovative designs with employment models

aspect of printed fashion designs derived from

contemporary Saudi plastic artists’ work. The

statistical approach: by measuring the validity of

the research hypotheses.

Research tools: The research relies on number of various sources

as books, research papers, journals and scientific

studies, International Information Network

(Internet), “Adobe Photoshop 2020” program, as

well as a questionnaire for evaluating designs and

employment models in terms of design, aesthetic

and functional.

Terminology: Integration: it is a complementary system that

emphasizes studying topics related to each other

that highlight their relationship to increase clarity

and understanding, it is considered as a middle

step between separating topics and their full

integration, also it is the approach depends on

planning and methods of implementation to

remove traditional barriers.

Creative: Is creating relationships between things

that have never been said to have relationships

between through flexible person with original

ideas, who has the ability to redefine or reorganize

things, and who can reach the use of circulating

objects in new ways and methods that give

meanings that differ from what is traded or agreed

upon among people.

Printing techniques: It is one of the most exciting

field of art, as it combines multiple concepts and

techniques in terms of their value, artistic

originality, and their ability to form visual images

with all their technical, aesthetic values and

includes of many methods which have unique

Dina Nafady 319


broad plastic capabilities through which it allows

continuous experimental practice technologies that

offer creative technical expertise.

Contemporary Saudi plastic art: Saudi plastic

art began in Saudi Arabia after introduction of art

education in the educational materials in 1376 AH

/ 1957 CE, as these endeavors culminated in the

completion of an exhibition inaugurated by King

Saud in 1377 AH / 1958 CE, and followed by a

group of other exhibitions in different regions of

the kingdom. By the emergence of various Saudi

artistic trends, ranging from simple recording style

to styles that are more in harmony with the current

arts in global capitals as Saudi traditions became

an area of study.

Fashion design: It is the process of creating ideas

and concepts related to the styles of clothes,

accessories, etc., to obtain these collectibles with

new designs, whether it is by the shapes, fabrics,

or colors used, and these choices are affected by

seasonal patterns in what is called (mainstream

fashion) to make these designs, they use freehand

drawing or the designers use modern computer

programs dedicated to fashion design field.

The Theoretical Framework In this research the theoretical frame work aims to

study the creative integration, multiple printing

techniques (stencil technique, tie-dyeing, marbling

and digital printing systems), advantage and

disadvantage of different techniques - the

aesthetics of contemporary Saudi plastic art,

fashion design, and links creative integration



create printed fashion designs.

1- Creative integration: The creative integration

is the ability to reflect different printing techniques

that are the witness to the artistic work as a format,

mechanisms and experiences that are achieved

through effort and continuous experimentation,

combining them with the materials, tools, methods

and performance methods to appear integrated and

harmonious, and then coming up with new

formulas that benefit them aesthetically and

functionally within the educational environment

and the external community in a work

characterized by the greatest amount of intellectual

energy, automatic flexibility and originality, and

this research is intended to integrate the various

printing techniques, whether traditional or digital,

to achieve together artistic innovations in a

contemporary printing work characterized by

artistic creativity, this creative process is to

achieve integration between the design systems

that make up design achievement, and the inter

connection between aesthetic and functional

performance together.

2- Traditional printing techniques: The

experimental practice in textile printing field is

considered one of the modern intellectual trends

that researchers have long coveted, as technology

is no longer fixed, but the hand of innovation is

always working to bring changes with

development and are commensurate with the

requirements of the age, either by using new

plastic formulations of modern artistic treatments,

or using synthetic media, that can be created by

combining traditional treatments, materials and

modern treatments, this diversity between

different artistic expression methods resulting

from the diversity of methods and styles and by

developing the same printing techniques or

combining various printing methods in one work

or by creating new performance methods for tools

and materials used, which leads to establishing the

originality of printed artwork with the advent of

printing using computers and the arrival of modern

advanced mechanical form of a printing unit that

operates all its parts and controls the operation of a

group of computer programs "software" using the

appropriate factions of dyes to print all types of

textile materials, and this system works in a

homogeneous manner, where each part has

important role with utmost accuracy and

efficiency. This modern technology is known as

“Digital Printing Technology”, the tasks of a

digital computer can be modified according to the

field in which it works and the advanced effects of

modern programs that can be used. Various

printing techniques can be divided into traditional

printing methods and digital printing, and

examples of traditional printing methods that have

been used in the practical experiment are:

stenciling, tie and die, marbling or what is called

water printing.

A- Stencil technique: It is considered one of the

oldest printing techniques that characterized by its

wide potential for obtaining renewed relationships

for repetition systems using the superposition of

the printing unit that adheres to lines connecting

the spaces to each other, these lines are varied in

terms of movement and thickness to achieve

special creative color and linear values related to

transparency, opacity and depth. With a sharp-

pointed knife, a pattern is cut from a sheet of

sturdy paper or thin metal, with the uncut parts

reflecting the section that will be left uncolored.

Color is rubbed through the interstices of the sheet

as it is laid on the fabric. Stenciled patterns are

unique in that they must be kept together with ties.

The dye/color is added to the spaces within the

stencil that have been cut out. It has its advantages






as It is a very easy method of printing on fabric,

simple and cost effective, can be made rapidly and

can be used for small orders and color

combination is good in it, but the disadvantage is

that good design is difficult to obtain, It is labor

intensive and time consuming to print, and it is

best suited for single-use applications rather than

large-scale manufacturing.

Fig (1): Stencil Technique Fig (2): Stencil Technique

B-Tie-dyeing: Method of dyeing by hand in

which colored patterns are produced in the fabric

by gathering together many small portions of

material and tying them tightly with string before

immersing the cloth in the dyebath. The dye fails

to penetrate the tied sections, after drying, the

fabric is untied to reveal irregular circles, dots, and

stripes. Various colored patterns may be produced

by repeated tying and dipping in additional colors.

This hand method, common in India and

Indonesia, has been adapted to machines. It can be

considered as a kind of resist printing. This

technique has some benefits, such as solvent

recycling, which eliminates the effluent control

problem, rapid dyeing with minimal energy

requirements, improved levelness and dye yield

compared to better fabric aesthetics, and low cost,

while some of its disadvantages as, such as

solvents are costly, resulting in higher

manufacturing costs, equipment availability

issues, and the inability to reuse existing dye.

Fig (3): Tie and Dye Technique Fig (4): Tie and Dye Technique

C- Marbling: it is the art of floating paints on top

of a thick solution called size, manipulating the

paints into patterns, then transferring the pattern to

an object by gently placing the object on top of the

solution. It is a technique used to create these

surface designs that resemble the patterns found in

stone. It’s been used for many years to create book

covers and end papers, but its history and

application go far beyond that. Today, it’s used to

create artwork, fine papers, and fabric designs.

From its advantages that no two finished pieces

are exactly alike, while the disadvantages it is a

very expressive art, each print is the culmination

of a tiny performance in which the artist interacts

with a fluid medium, revealing their temperament.

Fig (5): Marbling Technique Fig (6): Marbling Technique

3- Creative foundations and advantage of

traditional printing techniques:

1- Adding the automatic sense and expressive

value in building the printed design, where the

https://www.britannica.com/technology/dye

https://www.britannica.com/place/India

Dina Nafady 321


artist uses his artistic skills to embody his ideas.

2- The richness of the printing work surface,

which is exemplified by the diversity in the use of

printing techniques to achieve the foundations of

design in the printing work as it accommodates all

functional purposes for printing surfaces.

3- Confirming dimensional values of shadow,

light, repetition, and the resulting superposition

between shapes and transparency to give a sense

of the dimensions in the print work.

4- Variation between color pastes on different

printed surfaces that gives the feeling and its

degrees to the possibility of depth, flatness and

superposition.

5- Principles of design are achieved in terms of

repetition, unity and rhythm, as it deals with

repetition methods in a flexible and complex way,

which results in innovating new designs.

4- Disadvantage of traditional printing

techniques:

1- The great effort exerted in preparing the

printing surface, especially in large quantitative

production, since the artist displays his artistic

skills embodying innovative artistic ideas and

2- Usage of raw materials and tools according to

their own nature in production of unique

various plastic values, as it requires special

expertise and conscious know-how, as they

have their risks sometimes and the constant

needs for places equipped with special

mechanisms such as basins, printing tables, and

other suitable equipment’s for printing.

3- The consequent consumption of materials, inks

and surfaces to obtain better printing results.

4- Environmental pollution resulting from the

evaporating fumes when preparing the dyes

and odors emitted from the colorants, pastes

and chemicals used.

5- Digital fabric printing technique: Great

advancements in the field of textile printing have

recently been made in the areas of head

technology and ink production. This method is

similar to computer-controlled paper printers used

in offices, but on a much larger scale with many

variables to handle in order to achieve the best

possible fabric result. Files and color control,

printer and RIP technology, fabric pre and post

treatment methods, inks/dyes, and client standards

are some of the variables that must be coordinated

for effective digital fabric printing. Fabric printing

is performed directly on the fabric with digital

inks, as if it were paper, via the computer. In

1999The Jenkins Company came up with a new

product called “Bubble Jet Set” that are suitable

for silk or cotton fabrics. A piece of cloth, precut

to a size appropriate for the printer, is soaked in

the liquid and hung to drip dry. The handled fabric

is ironed and then ironed to a backing of freezer

paper to help stiffen it so it can run through the

printer.

Fig (7): Digital Printing on Fabric Fig (8): Digital Printing on Fabric

6- Creative foundations and advantage of

digital fabric printing techniques:

1- Dispensing with preparation stages prior to the

printing process, as printing is done directly to the

printing machine from the computer, without

going through various stages, so there is

no need for cylinders or silk screens, which saves

a lot of effort, time and money.

2- Saving the work step by step, and most drawing

programs include the feature of the history of the

operations that have been performed, which allows

to cancel the last changes made to the work,

increase the rate of turnover of printing operations.

3- The ability to print when needed, and

economical for prints with small quantities.

4- The best new computer programs can

accurately reproduce the characteristics and feel of

the effects of traditional techniques and methods

such as flatness, embodiment, superposition,

repetition, lights, shadows, deletions, addition and

touches.

5- Printing with variable information, and infinite

experimentation is allowed, returning to the point

reached before starting experimenting all this with

no dissatisfaction with experience.

6- Printing with precision, especially the gradient

colors and reach gradations to a few millions of

color gradations. Printing for canvas widths up to






150 cm and an infinite number of colors on

fabrics, plastic, paper and the amount from one

meter to seventy.

7 - Low cost, high production and automatic

control beside fast performance in time.

8- Decrease in the amount of waste as the inks

used in fabrics.

7- Disadvantage of digital printing techniques:

1- Using certain types of inks and dyes compared

to traditional printing.

2- To avoid machine failure in the event of

clogging of nozzles, which hinders production,

expensive inks and dyes must be used with a high

degree of purity and free from any impurities to

maintain the integrity and non-clogging of the

print head nozzles during operation.

3- Uneconomical when printing large quantities of

fabrics due to the low production and high prices

of raw materials, inks and dyes. 8- The aesthetics of contemporary Saudi plastic art: The first appearance of the features of Saudi art was with the beginning of teaching art education in an official capacity starting from 1376 AH / 1957 CE, and listed various important plastic activities that most important cities of Saudi Arabia knew in the field of plastic arts, similar to decorating a number Saudi airports, including Jeddah International Airport, which carried out a group of huge plastic works accomplished by a group of the most prominent plastic artists. Contemporary features emerged in the late twentieth century through a special scientific approach aimed at achieving an integrated entity for the artist in particular, and contemporary in its essence refers to the pursuit of everything that is advanced and developed, this

development and progress, which is an evolution of human thought that is renewed from one era to another. Hence, the contemporary Saudi plastic artists found that the relationship between heritage and contemporary is a correlational relationship, as the heritage represents the cultural heritage manifested in all that man has accomplished throughout his history within the boundaries of his cultural environment and where individual and social factors intertwine. In addition to the esoteric and environmental life, in a complex way, which prompts the opening of new, contemporary and continuous intellectual horizons for the future, The Saudi plastic artist found that the artistic style of any civilization emanates directly from what preceded it of heritage, so derives from it everything that matches his thought, beliefs and taste, then gets rid of that inheritance gradually and grows intellectually and culturally with the crystallization of the philosophy of his time, to be a contemporary artistic style, and this interaction and merger between each of them resulted in a state of interaction that contributes to the formation of a new artistic state that is both old and modern, In view of the beauty of contemporary plastic art, it is time to employ contemporary Saudi designs to stand in the field of competition with Western products and surpass them in their originality, and to activate the Saudi heritage and the aesthetic values it carries within it based on the plastic capabilities of the design elements in Saudi arts.

The following is some of the students’ works

inspired from of the most famous

contemporary Saudi artists:

Inspired from: Taghreed

Albakshy Painting Inspired from: Luluwah

Alhamoud Painting Inspired from: Munira Mosly

Painting

Inspired from: Misharie

AlGhamidi Painting

Inspired from: Dia Aziz Painting

Inspired from: Abdelrahman

Alrawie Painting

Dina Nafady 323


Inspired from: Dia Aziz painting

Inspired from: Luluwah

Alhamoud Painting

Inspired from: Misharie

AlGhamidi Painting

Inspired from: Abdulaziz Al-

Najem Painting

Inspired from: Abdulnasser

Ghrem Painting

Inspired from: Abdullah Qandeel

Painting

9- Fashion design: Design is planning a thing so

that it is fully fit for its purpose and to be in full

harmony with what is around, and surrounds it,

which is the conscious gathering, and the intended

coordination of various elements in each

satisfactory community or unit, and the fashion

design depends mainly on creativity and

innovation, It illustrates a personal vision and

expresses it, as it is an art that addresses the

senses, because it is one of the visual arts that can

be perceived by sense, so the process of designing

the costume is perceptually carried out through the

senses and conscience, and it follows the

embodiment of the manifestations of art and its

qualities because it is a process of organizing and

planning for the combined elements of formation

and their integration with sensual and expressive

qualities in art.

The Practical Framework 1- Digital printing designs: It is a contemporary

shift especially in the field of modern digital art,

as it spread around the world at a breakneck speed,

and automated technologies were employed for

this art in a variety of fields, Computer as an

artistic means is a qualitative addition in artistic

creativity, and not a negative competitor to the art

created by human fingertips, and is used through

programs pixel art, meaning that any artist with

talent and knowledge of computer uses, Photoshop

and Illustrator can develop endless formations of

artistic printing works in which the imaginative

artistic vision combines with the high technical

capabilities of computer to achieve together

artistic formulations in the plastic work that would

not have been achieved without the availability of

this technology. Through it, silk screen and

stencils are replaced by mouse and computer

screen as an alternative to the palette, and digital

colors are used instead of traditional pigments and

pastes to create endless formulas and infinite

varied effects to reach a stage of artistic launch

that has no limits except the artist's imagination.

2- Designs’ preparation stage: This was done

through application on the third-level students in

print making studio course GDE 314, the course

description contains various types of printing and

methods, in addition that the third-level students

previously studied Printing 1 course GDE 212

before GDE 314 print making studio where they

were trained to build single color printing methods

and have experience, beside the ability to build

design and surface printing in multiple ways. With

the focus in this course on multiple printing

techniques using more than one color, and training

students on how to produce the best models that

students implement in multiple colors. A






theoretical background was presented on

contemporary Saudi plastic art, the most famous

artists and the contemporary Saudi artists showing

their importance in the art field and providing

students with the most famous names as: Taghreed

Albakshy, Luluwah Alhamoud, Munira Mosly,

Misharie AlGhamidi, Dia Aziz, Abdelrahman

Alrawie, Luluwah Alhamoud, Abdulaziz Al-

Najem, Abdulnasser Ghrem, and Abdullah

Qandeel, Mohamed Sharahly, Sakna Bin Hassan,

Sarah Al Abdali, Ghada Alrabea, Mahdy Rajeh,

Widad Albakr and explaining the most prominent

elements, symbols and various units in their

paintings to be applied on the material surface,

besides training the students on skills of producing

print models of high quality and accuracy, as

following:

1- Introducing contemporary Saudi plastic art to

students, each one chooses an artist, studying

and knowing his/her style, artistic trends and

his/ her development stages.

2- Students configurate and modify their designs

that are inspired by the artist's works.

3- Gathering the largest possible number of

printed effects on the canvas resulting from

various printing techniques such as stenciling,

tie and dye, then marbling.

4- Copying them electronically through the

scanner device or digital camera.

5- Building and creating designs inspired by the

works of contemporary Saudi artists.

6- Take advantage of the capabilities of Adobe

Photoshop program to combine the proposed

images and its features, add filters, and place

them in the appropriate place on the screen to

serve the business idea and use a number of

different effects.

7- Moving the copied effects on the screen to find

optimal position in design and using them in

designs inspired by contemporary Saudi artists

in an innovative way and placing them in some

places in the design, in a way that serves the

design idea.

3- Work implementing stage: The researcher

took into account that the content and the work

vision are derived from the potential of creative

integration between traditional and digital printing

techniques by using computer capabilities,

according to the technical work vision, and the

artistic form according terms of aesthetic values

that are employed formally with an emphasis on

points in the technical work, they are good,

appropriate and unfamiliar implementation

techniques for single work through design

variables. The design and utility using Adobe

Photoshop stencils, tie and dye, marbling effects

using rotation, duplication, deletion, addition to

achieve creative integration and come up with new

formatting formulas. It focuses on creative

integration of various printing techniques and the


create printed fashion designs. This resulted in

designs that were distinguished by renewal in

terms of diversity in their shapes, and plastic

formations through lines and textures directions

that helped to achieve integration between

traditional techniques (stenciling, tie and dye,

marbling) and digital printing technique that make

up the parts of the design. By taking advantage of

the creative integration between traditional

printing methods and digital printing, a set of

designs are produced.

4- Designs’ ideas resulting from the practical

experience:

Design No. (1)

Artist (Mohamed Sharahly) Painting Design Idea No. (1)

Dina Nafady 325


Employment Proposal for Women’s Clothing

Technical analysis of the design idea: In this

design, artwork elements are re-distributed in free

repetition alternating with a group of repeated

Arabic letters in golden color, ensuring the

design's unity and giving the impression of a

continuous relationship between its parts. The use

of black color as a background for the horse in

marbling also warm and cold colors with rich

golden yellow color links work elements and

organizes the visual experience for the artwork,

which adds value to the design and appears in the

employment proposal for women’s clothing.

Design No. (2):

Artist (Sakna Bin Hassan) Painting Design Idea No. (2)







Technical analysis of the design idea: Design

based on a repeated pattern centered on a human

face covered with geometric mask. This geometric

mask contrasts with the tie and dye veil over her

head led to rhythmic harmony based on the

continuity of units and spaces around, repetition

was used as one of the basic aesthetics structures

of design in the marbling lower part dress that

gives the sense of ascending force, warm and cold

colors created a rhythmic harmony based on the

organization of perception between different

sections of the artwork, and appears in the


Design No. (3):

Artist (Sarah Al Abdali) Painting Design Idea No. (3)



depends on the plant element that is used in a

longitudinal way around both sides, and repeating

it until the edges touches a triangle patterns in

semi-geometric spaces varied in size and shape.

Then tie and dye color treatment appears on the

central girl used a free color circle spots that used

the purple color with its degrees as a background,

while on the other elements of the art work, the

grey color is used. This ensures the connection

between the artwork elements and their

surroundings, as well as it links between the

artwork elements and unity that appears in the


Dina Nafady 327


Design No. (4):

Artist’s (Ghada Alrabea) Painting Design Idea No. (4)



based on coordinating between human and animal

elements in an innovative balanced composition.

Using marbling with tie and dye repetition, causes

overlapping and combination which forms a net,

which is considered as one of the design's

aesthetic structures. The variety of element

locations ensures balance and rhythm by

combining them in an artistic appearance that

produces harmony and contrast, enhancing the

design value. These treatments often provide a

sense of extension and consistency in the design

and appears in the employment proposal for

women’s clothing.

Design No. (5):






Artist (Mahdy Rajeh) Painting Design Idea No. (5)


Technical analysis of the design idea: The

design is made up of curved Arabic calligraphy

elements and straight lines that are arranged by

repeating them in various sizes and directions on a

background of geometric lines that run vertically

in the design, giving it a neutral consistency and

helping to break up the monotony. This fusion

creates a sense of unity and contrast in the

relationship, which adds to the design value. This

treatment is considered as one of the most

appropriate aesthetic treatments, the artwork's

bottom bar was shaped by curved Arabic

calligraphy, which gives the impression of weight

and dropping and appears in the employment

proposal for women’s clothing.

Design No. (6):

Dina Nafady 329


Artist (Widad Albakr) Paintings Design Idea No. (6)



depends on Islamic motif unit that stands in light

color between two opposing human faces looking

at each other on the right and left sides of the

design, creating a sense of movement and non-

monotony. Because of the richness of the curved

shapes that the motif contains, the repetition of the

Islamic motif unit in this manner did not detract

from the work's dynamic. Through the good

distribution of colors and surface values, the

overlapping of marbling colors achieves rhythm in

the design, and appears in the employment

proposal for women’s clothing.

Design No. (7):

Artist (Sarah Al Abdali) Painting Design idea No. (7)








depends on using various groups of plant in

geometric elements while the lady in tie and dye

appears in the downright part of the design, the

design relies on using different groups of plants in

geometric elements and distributing them with

varied repetition in the region of the design. The

plants in the geometric square background are

marbled on a regular basis, while the plants

element in the foreground are dropped. This

results in a daily rhythm that takes into account the

continuity of the units and spaces around it and

appears in the employment proposal for women’s

clothing.

Design No. (8):

Artist (Taghried Albakshy) Paintings Design Idea No. (8)

Dina Nafady 331



Technical analysis of the design idea: The

design is based on wavy lines that are drawn in a

horizontal direction and arranged in a series. The

wavy lines are drawn to provide tenderness and

versatility. These wavy lines repeat ascending and

descending to give rhythmic movement, similar to

waves, while using marbling, tie and dye

techniques in human figures in a vertical direction,

as well as in palm trees, to inspire a sense of

strength and hardness in shapes. The use of warm

and cool colors has a significant influence on the

overall design's balance, which has added value to

the design in general.

The Statistical Analysis (Test the validity of the questionnaire content): To verify the validity of the questionnaire content,

it was presented in its initial form to a group of

specialized referees from university professors at

Colleges of Applied Arts and College of

Architecture Engineering and Digital Design at

Dar Al Uloom University to seek their opinion on

the suitability of the items and axes, and it was

reformulated after making the necessary

adjustments according to the opinions of the

referees, to become in its final form then

presenting the designs that have been implemented

to the study community of specialists and the

sample size reached (45) members, students, and

employers, the questionnaire included statements

that measures the designs aspects, the design

aesthetic statements that measures the design

aspects, aesthetic, while the second axis included,

and functional aspect of the proposed women's

printed fashion designs.

For the relationship between integration of

various printing techniques and the aesthetics of


fashion designs is evident from Table (1) that the

average degrees are (3.21) and the percentage of

the weighted average was (80.34%), including

emphasizes the positivity and importance of

integration of various printing techniques and the


create women's printed fashion designs.

Table (1) Relation Strongly Agree (4) Agree (3) Disagree (2) Strongly Disagree (1) Total Weighted

total

Weighted

average

% Rank

No. % No. % No. % No. %

Design No. (1) 38 84.44 7 15.55 0 0.0 0 0.0 45 173.0 3.84 96.11 3

Design No. (2) 8 17.77 34 75.55 3 6.66 0 0.0 45 140.0 3.11 77.77 5

Design No. (3) 40 88.88 5 11.11 0 0.0 0 0.0 45 175.0 3.88 97.22 2

Design No. (4) 42 93.33 3 6.66 0 0.0 0 0.0 45 177.0 3.93 98.33 1

Design No. (5) 9 20.0 36 80.0 0 0.0 0 0.0 45 144.0 3.2 80.0 4

Design No. (6) 0 0.0 33 73.33 6 13.33 6 13.33 45 117.0 2.6 65.0 7

Design No. (7) 2 4.44 8 17.77 35 77.77 0 0.0 45 102.0 2.26 56.66 8

Design No. (8) 0 0.0 39 86.66 6 13.3 0 0.0 45 129.0 2.86 71.66 6

139 165 50 6 360.0 1157.0 3.21 80.34

The average degrees and the percentage of the

weighted average was 80.34% that emphasizes the

possibility of the creative integration of various

printing techniques and the aesthetics of







fashion designs, by reference the weighting

degrees of the sample in the designs the highest

weighting came of design No. (4) by (98.33%),

followed by the design (3) by (97.22%) and design

No. (1) by (% 96.1), then design No. (5) by

(80.0%), while the less percentage weighting came

of design No. (6) by (65.0%) and the less design

came to design No. (7) by (56.66%).

Results: 1- It is possible to combine the features and

characteristics of traditional techniques and digital

systems in print works to enrich the artistic values

through creative integration with both of them.

2- Digital systems are considered very important

to creativity in textile printing field due to

methods, techniques and performances of this field

that are compatible with textile printed designs,

whose capabilities can be invested in creating

extraordinary plastic formulas for contemporary

printing works.

3- Saudi plastic art is rich with different aesthetic

and artistic values that can be added to printed

fashion design field as fashion design is very

creative through using various printing techniques.

Recommendations: 1- Using technical and technological development

to ease dealing and experimentation to create

artistic works characterized by creativity and

innovation.

2- The necessity of more experiments in

combining traditional and digital techniques as an

attempt to invest what has been achieved of

artistic and plastic values in the textile printing

field.

3- The necessity of different artistic cultures and

knowledge related to the field of plastic art, which

contribute to enriching artistic taste, vision and

creativity.

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Dyeing and Finishing, Scitus Academics Llc,

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The Saudi Arabian Society for Culture and

Arts, First Edition.

3. Areej A., S. (2011). Fashion Design Drawing

and Painting, Saudi Publishing and

Distribution Company, Jeddah.

4. Al-Ansari, A., H. (2001). Islam's position on

heritage preservation, A working paper

submitted to the International Symposium of

Scholars on Islam and Cultural Heritage.

Doha, Qatar.

5. Al-Rubaie I., A.; Al-Rashdan, W., M. (2003).

The Problem of Communication with

Heritage in Artistic Works. Damascus

University Journal, Volume Nineteen (2).

6. Al-Saleem, M. (2018). A Word for the Sake

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Shabout, Museum of Modern Art, New York.

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10. Yusra M., I. (2014). Foundations of Fashion

Design, World of Books, Cairo.

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of inspiration in clothing design. International

Journal of Clothing Science and Technology,

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18. Susan, C. (2015). Digital Textile Printing,

Bloomsburg Publishing, Oxford, London

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creative in textile art, Pavilion Books,

London.

20. William B., Kamwine S. & Charles F.,

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in Printed Textile Design, International

Journal of innovative research and

development, Vol 4 Issue 10 September,

www.ijird.com.

21. 21-Wilkinson, N. J., Smith, M. A. A., Kay, R.

W. & Harris, R. A. (2019). A review of

Dina Nafady 333


aerosol jet printing—a non-traditional hybrid

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Fabric, Bloomsburg Publishing, Oxford,

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dyeing



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